Great Whaleback of Granite

"On Cadillac you can feel all of mount desert underfoot. You seem to be riding a graceful surfacing of mountains headed, like a pod of whales, out to sea through other, smaller islands equally well wrought, unique expressions of rock foaming at their margins, leaning a little seaward or a little landward, depending on which way the tide is moving. From here, to the south and west, one island leads to another, all the way to Frenchboro and Swans Island and Isle au Haut, as this landscape toys with the idea of islands until the sea says enough and there is only water.

...

What else is there to do here- or anywhere in nature- but to indulge the awareness of your senses, observe, the instructive otherness that lies just beyond- or is it within - the beauty of nature, and improve your understanding of the world around you and of yourself as an observing being?

...

On  clear mornings, standing on this great whaleback of granite, with this wide coastal world in your mind's eye and sense keenly the orderliness of the solar system, the way the sun and the moon pull on the oceans to the advantage of life on earth. To the east beyond Schoodic and Petit Manan, you can see a day coming toward you as a blush of light - the "rosy-fingered dawn' of Homeric poetry."

- Christopher Camuto
Time and Tide in Acadia

Time and Memory

"This is the disconcerting conclusion that emerges from Boltzmann’s work: the difference between the past and the future refers only to our own blurred vision of the world. It’s a conclusion that leaves us flabbergasted: is it really possible that a perception so vivid, basic, existential—my perception of the passage of time—depends on the fact that I cannot apprehend the world in all of its minute detail? On a kind of distortion that’s produced by myopia? Is it true that, if I could see exactly and take into consideration the actual dance of millions of molecules, then the future would be “just like” the past?

...

Temporality is profoundly linked to blurring. The blurring is due to the fact that we are ignorant of the microscopic details of the world. The time of physics is, ultimately, the expression of our ignorance of the world. Time is ignorance.

...

I am my mother’s caresses, and the serene kindness with which my father calmly guided me; I am my adolescent travels; I am what my reading has deposited in layers in my mind; I am my loves, my moments of despair, my friendships, what I’ve written, what I’ve heard; the faces engraved on my memory. I am, above all, the one who a minute ago made a cup of tea for himself. The one who a moment ago typed the word “memory” into his computer. The one who just composed the sentence that I am now completing. If all this disappeared, would I still exist? I am this long, ongoing novel. My life consists of it."

- Carlo Rovelli (1956 - )
The Order of Time

Form and Content

"All art is relationships, all art. Design is relationships. Design in a relationship between form and content... Your glasses are round. Your collar is diagonal. These are relationships. Your mouth is an oval. Your nose is a triangle - this is what design is.

...

Design is the method of putting form and content together. Design, just as art, has multiple definitions, there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that’s why it is so complicated.

...

Visual communication of any kind, whether persuasive or informative, from billboards to birth announcements, should be seen as the embodiment of form and function: the integration of the beautiful and useful. Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea."

- Paul Rand (1914 - 1996)
Paul Rand: A Designer's Art

Ocean of Imagination

"The beginning of wisdom, I believe, is our ability to accept an inherent messiness in our explanation of what's going on. Nowhere is it written that human minds should be able to give a full accounting of creation in all dimensions and on all levels. Ludwig Wittgenstein had the idea that philosophy should be what he called "true enough." I think that's a great idea. True enough is as true as can be gotten. The imagination is chaos. New forms are fetched out of it. The creative act is to let down the net of human imagination into the ocean of chaos on which we are suspended and then to attempt to bring out of it ideas."

- Rupert Sheldrake (1942 - )

Heavenly Lantern

"Before humans beings possessed fire or tools or language, the moon had been their ally. It would calm people's fears now and then by illuminating the dark world like a heavenly lantern. Its waxing and waning gave people an understanding of the concept of time. Even now, when darkness had been banished from most parts of the world, there remained a sense of human gratitude toward the moon and its unconditional compassion. It was imprinted upon human genes like a warm collective memory."

- Haruki Murakami (1949 - )
1Q84

Tennyson's Flower

"Tennyson said that if we could understand a single flower we would know who we are and what the world is. Perhaps he meant that there is no deed, however so humble, which does not implicate universal history and the infinite concatenation of causes and effects. Perhaps he meant that the visible world is implicit, in its entirety, in each manifestation, just as, in the same way, will, according to Schopenhauer, is implicit, in its entirety, in each individual."

- Jorge Luis Borges (1899 - 1986)

Patterns of Ones and Zeros

"'Personal density,' Kurt Mondaugen in his Peenemünde office not too many steps away from here, enunciating the Law which will one day bear his name, 'is directly proportional to temporal bandwidth.' 'Temporal bandwidth,' is the width of your present, your now. It is the familiar '[delta-] t' considered as a dependent variable. The more you dwell in the past and in the future, the thicker your bandwidth, the more solid your persona. But the narrower your sense of Now, the more tenuous you are.

...

He had decided long ago that no Situation had any objective reality: it only existed in the minds of those who happened to be in on it at any specific moment. Since these several minds tended to form a sum total or complex more mongrel than homogeneous, The Situation must necessarily appear to a single observer much like a diagram in four dimensions to an eye conditioned to seeing the world in only three. Hense the success of failure of any diplomatic issue must vary directly with the degree of rapport achieved by the team confronting it. This had led to the near obsession with teamwork which had inspired his colleagues to dub him Soft-show Sydney, on the assumption that he was at his best working in front of a chorus line. But it was a neat theory, and he was in love with it. The only consolation he drew from the present chaos was that his theory managed to explain it.

...

If patterns of ones and zeros were “like” patterns of human lives and deaths, if everything about an individual could be represented in a computer record by a long string of ones and zeros, then what kind of creature would be represented by a long string of lives and deaths? It would have to be up one level at least—an angel, a minor god, something in a UFO. It would take eight human lives and deaths just to form one character in this being’s name—its complete dossier might take up a considerable piece of the history of the world."

- Thomas Pynchon (1937 - )
V, Gravity's Rainbow, and Vineland